Blog written by Jan-Christopher Horak, director of the UCLA Film & Television Archive

21 June, 10 AM, which happens to be 1 AM (California time), according to my body clock, and I’m standing in front of a group of eager film students. We are doing a one week academic seminar in and around PEOPLE ON SUNDAY to prepare five German film students (from the IFS) and five American film students from UCLA to spend the next five weeks making a film, which will be a portrait of Cologne, the way PEOPLE was a portrait of Berlin in 1929.

We start with an initial discussion of the film, made by Billy Wilder, Edgar Ulmer, Robert and Curt Siodmak, Eugene Schuefftan, Fred Zinnemann, and Seymour Nebenzahl, all of whom were exiled from Germany in 1933 and had high profile (or less substantial) Hollywood careers. Along with Prof. Dr. Gundolf Freyermuth (IFS) and Dr. Lisa Gotto (IFS), we discuss the incredible modernity of MENSCHEN AM SONNTAG, given its non-plot and hand-held camera, its amateur actors and documentary views of a vibrant city.

Next, I...

]]>

Blog written by Jan-Christopher Horak, director of the UCLA Film & Television Archive

21 June, 10 AM, which happens to be 1 AM (California time), according to my body clock, and I’m standing in front of a group of eager film students. We are doing a one week academic seminar in and around PEOPLE ON SUNDAY to prepare five German film students (from the IFS) and five American film students from UCLA to spend the next five weeks making a film, which will be a portrait of Cologne, the way PEOPLE was a portrait of Berlin in 1929.

We start with an initial discussion of the film, made by Billy Wilder, Edgar Ulmer, Robert and Curt Siodmak, Eugene Schuefftan, Fred Zinnemann, and Seymour Nebenzahl, all of whom were exiled from Germany in 1933 and had high profile (or less substantial) Hollywood careers. Along with Prof. Dr. Gundolf Freyermuth (IFS) and Dr. Lisa Gotto (IFS), we discuss the incredible modernity of MENSCHEN AM SONNTAG, given its non-plot and hand-held camera, its amateur actors and documentary views of a vibrant city.

As we enter into the second decade of the new millenium, moving image archives have taken a few more steps towards complete professionalization by establishing formal training programs for moving image archivists. Not surprisingly, the major impetus for the yearly Association of Moving Image Archivists (AMIA) conference had originally been the real need for training and the professional exchange of archival methodologies and practices for moving image preservation. Thus, the second official AMIA conference instituted workshops where older colleagues spoke to novices and younger colleagues, a sort of moving image archiving 101.

Beginning in the mid 1990s, then, film archives in connection with universities began for the first time to offer professional training courses for moving image archivists. One of the...

As we enter into the second decade of the new millenium, moving image archives have taken a few more steps towards complete professionalization by establishing formal training programs for moving image archivists. Not surprisingly, the major impetus for the yearly Association of Moving Image Archivists (AMIA) conference had originally been the real need for training and the professional exchange of archival methodologies and practices for moving image preservation. Thus, the second official AMIA conference instituted workshops where older colleagues spoke to novices and younger colleagues, a sort of moving image archiving 101.

Beginning in the mid 1990s, then, film archives in connection with universities began for the first time to offer professional training courses for moving image archivists. One of the...